Codell borrows the plot of A Christmas Carol for this version set in the tenements and factories of New York City in the early 20th century. Scroogemacher is the transported Scrooge character, with his own waistcoat factory and a beholden nephew named Moshe, and the time is the last night of Hanukkah. Instead of three ghosts, Scroogemacher is visited by the Rabbi of Hanukkah Past, who explains the history of the celebration; the Rabbi of Hanukkah Present, who forces Scroogemacher to relive his own journey from Europe to New York; and the Rabbi of Hanukkah Future, a woman who shows Scroogemacher what today’s society will be like. Lots of history, Jewish customs, Yiddish expressions and the entire plot of A Christmas Carol are all squeezed in along with full-page and spot illustrations that give the characters even more personality. Dickens purists may wince, but many others will find this effort quite an acceptable way to introduce or review the history behind the holiday. (glossary, bibliography, author’s note, illustrator’s note) (Fiction. 7-12)
Pub Date: Sept. 1, 2005
ISBN: 0-7868-5179-1
Page Count: 58
Publisher: Hyperion
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Nov. 1, 2005
Miranda’s book counts the monsters gathering at a birthday party, while a simple rhyming text keeps the tally and surveys the action: “Seven starved monsters are licking the dishes./Eight blow out candles and make birthday wishes.” The counting proceeds to ten, then by tens to fifty, then gradually returns to one, which makes the monster’s mother, a purple pin-headed octopus, very happy. The book is surprisingly effective due to Powell’s artwork; the color has texture and density, as if it were poured onto the page, but the real attention-getter is the singularity of every monster attendee. They are highly individual and, therefore, eminently countable. As the numbers start crawling upward, it is both fun and a challenge to try to recognize monsters who have appeared in previous pages, or to attempt to stay focused when counting the swirling or bunched creatures. The story has glints of humor, and in combination with the illustrations is a grand addition to the counting shelf. (Picture book. 3-8)
Pub Date: Aug. 1, 1999
ISBN: 0-15-201835-2
Page Count: 32
Publisher: Harcourt
Review Posted Online: May 19, 2010
Kirkus Reviews Issue: Aug. 1, 1999
Convincing, humorous, warm, and definitely spooky.
Henry, the new boy in Barbara Anne Klein’s Seattle fifth-grade class, dresses oddly, but that isn’t the strangest thing about him.
Henry and narrator Barbara Anne (or Bitsy as her parents and grandmother call her) bond over their need to escape their assigned lunch table, and Barbara Anne soon discovers the subject of Henry’s absorbed sketching at recess: the boy who seems to be haunting him. Irrepressible, strong-minded Barbara Anne is not always aware of her limitations, and Siebel’s voice for her is both funny and warm. Henry battles a respiratory infection throughout much of the story even as he and Barbara Anne begin to realize that young Edgar, Henry’s ghost, did not survive the Spanish influenza pandemic in 1918. A session with a Ouija board and a letter and yearbook discovered in Henry’s attic tell part of the story. Edgar’s father’s journal, found in the public library archives, reveals the rest. Siebel cleverly weaves together the story of the developing friendships among Barbara Anne and her classmates and the story of Edgar’s friendship with Henry’s neighbor, Edgar’s playmate as a small child and now a very old woman. Henry, Barbara Anne, and Edgar present white; classmate Renee Garcia, who looks forward to eventually celebrating her quinceañera, and Barbara Anne’s teacher, Miss Biniam (“she looks like an Ethiopian princess”) are the only main characters of color.
Convincing, humorous, warm, and definitely spooky. (Ghost story. 9-12)Pub Date: July 2, 2019
ISBN: 978-1-101-93277-3
Page Count: 240
Publisher: Knopf
Review Posted Online: March 30, 2019
Kirkus Reviews Issue: April 15, 2019
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